Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
-@c \version "2.12.0"
+@c \version "2.14.0"
@node Chord notation
describe chords. More information on different input modes can be
found at @ref{Input modes}.
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\chordmode { c1 g a g c }
@end lilypond
Chords entered using chord mode are music elements, and can be
transposed just like chords entered using simultaneous music.
@code{\chordmode} is absolute, as @code{\relative} has no effect
-on @code{chordmode} blocks. However, in @code{\chordmode} the
+on @code{chordmode} blocks. However, in @code{\chordmode} the
absolute pitches are one octave higher than in note mode.
Chord mode and note mode can be mixed in sequential music:
@knownissues
+Predefined shorthands for articulations and ornaments cannot be used
+on notes in chord mode, see @ref{Articulations and ornamentations}.
+
When chord mode and note mode are mixed in sequential music, and
chord mode comes first, the note mode will create a new @code{Staff}
-context.
+context:
@lilypond[verbatim,quote,ragged-right,relative=1]
\chordmode { c2 f }
<c e g>2 <g' b d>
@end lilypond
+@noindent
To avoid this behavior, explicitly create the @code{Staff} context:
@lilypond[verbatim,quote,ragged-right,relative=1]
Major triads are entered by including the root and an
optional duration:
-@lilypond[verbatim,quote,relative=1,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
\chordmode { c2 f4 g }
@end lilypond
Minor, augmented, and diminished triads are entered by placing
@code{:} and a quality modifier string after the duration:
-@lilypond[verbatim,quote,ragged-right,relative=1]
+@lilypond[verbatim,quote,ragged-right]
\chordmode { c2:m f4:aug g:dim }
@end lilypond
Seventh chords can be created:
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
\chordmode { c1:7 c:m7 c:maj7 c:dim7 c:aug7 }
@end lilypond
@funindex maj
@funindex m
-The table belows shows the actions of the quality modifiers on
+The table below shows the actions of the quality modifiers on
triads and seventh chords. The default seventh step added to
chords is a minor or flatted seventh, which makes the dominant
seventh the basic seventh chord. All alterations are relative to
added. The largest possible value for the extent is 13. Any
larger value is interpreted as 13.
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c1:2 c:3 c:4 c:5
c1:6 c:7 c:8 c:9
unaltered 13, the 11 is removed from a @code{:13} chord (unless it
is added explicitly).
-@lilypond[quote,ragged-right,fragment,verbatim,relative=1]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c1:13 c:13.11 c:m13
}
step added to a chord is the minor or flatted seventh, rather than
the major seventh.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
\chordmode {
c1:5.6 c:3.7.8 c:3.6.13
}
Added steps can be as high as desired.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
\chordmode {
c4:5.15 c:5.20 c:5.25 c:5.30
}
sign to the number. To alter a step that is automatically included
as part of the basic chord structure, add it as an altered step.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
\chordmode {
c1:7+ c:5+.3- c:3-.5-.7-
}
removed are separated by @code{.} following the
initial @code{^}.
-@lilypond[quote,verbatim,fragment,relative=1]
+@lilypond[quote,verbatim]
\chordmode {
c1^3 c:7^5 c:9^3 c:9^3.5 c:13.11^3.7
}
chord. @code{sus} is equivalent to @code{^3}; @code{sus4} is
equivalent to @code{.4^3}.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c1:sus c:sus2 c:sus4 c:5.4^3
}
chord) and added bass notes can be specified by appending
@code{/}@var{pitch} to the chord.
-@lilypond[quote,ragged-right,fragment,verbatim, relative=2]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c1 c/g c/f
}
A bass note that is part of the chord can be added, instead of
moved as part of an inversion, by using @code{/+}@var{pitch}.
-@lilypond[quote,ragged-right,fragment,verbatim]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c1 c/g c/+g
}
simply produces the augmented chord, since @code{5+} is
interpreted last.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
\chordmode { c1:5.5-.5+ }
@end lilypond
note. The first inversion requires changing the root of
the chord.
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
\chordmode {
c'1: c':/g e:6-3-^5 e:m6-^5
}
Chord names are printed in the @code{ChordNames} context:
-@lilypond[verbatim,quote,relative=1,ragged-right]
+@lilypond[verbatim,quote,ragged-right]
\new ChordNames {
\chordmode {
c2 f4. g8
g1
c1
}
- \new Score \chordmode {
+ \chordmode {
c1
r1
g1
@code{\chords @{ ... @}} is a shortcut notation for
@code{\new ChordNames @{ \chordmode @{ ... @} @}}.
-@lilypond[verbatim,quote,ragged-right, relative=1]
+@lilypond[verbatim,quote,ragged-right]
\chords {
c2 f4.:m g8:maj7
}
@end lilypond
-@lilypond[verbatim,quote,ragged-right, relative=1]
+@lilypond[verbatim,quote,ragged-right]
\new ChordNames {
\chordmode {
c2 f4.:m g8:maj7
@snippets
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c Keep index entries with following snippet
+@cindex chords, suppressing repeated
+@funindex chordChanges
+
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{showing-chords-at-changes.ly}
-@c @lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@c @lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
@c {adding-bar-lines-to-chordnames-context.ly}
-@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
+@lilypondfile[verbatim,quote,ragged-right,texidoc,doctitle]
{simple-lead-sheet.ly}
There is no unique system for naming chords. Different musical
traditions use different names for the same set of chords. There
-are also different symbols displayed for a given chord name. The
+are also different symbols displayed for a given chord name. The
names and symbols displayed for chord names are customizable.
@cindex jazz chords
system can be modified as described below. An alternate jazz
chord system has been developed using these modifications.
The Ignatzek and alternate
-Jazz notation are shown on the chart in @ref{Chord
-name chart}.
+Jazz notation are shown on the chart in @ref{Chord name chart}.
@c TODO -- Change this so we don't have a non-verbatim example.
@c Make short example in docs, then move longer example to
@lilypondfile[ragged-right]{chord-names-languages.ly}
+
+@funindex chordNameLowercaseMinor
+
+German songbooks may indicate minor chords as lowercase letters,
+without any @var{m} suffix. This can be obtained by setting the
+@code{chordNameLowercaseMinor} property:
+
+@lilypond[verbatim,quote,ragged-right]
+\chords {
+ \set chordNameLowercaseMinor = ##t
+ c2 d:m e:m f
+}
+@end lilypond
+
If none of the existing settings give the desired output, the chord
name display can be tuned through the following properties.
@item majorSevenSymbol
This property contains the markup object used to follow the output
-of @code{chordRootNamer} to identify a major 7 chord. Predefined
+of @code{chordRootNamer} to identify a major 7 chord. Predefined
options are @code{whiteTriangleMarkup} and
@code{blackTriangleMarkup}.
When the chord name contains additional pitches other than the root
(e.g., an added bass note), this function is used to print the
additional pitch. By default the pitch is printed using
-@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
+@code{chordRootNamer}. The @code{chordNoteNamer} property can be set
to a specialized function to change this behavior. For example, the
bass note can be printed in lower case.
@snippets
@cindex exceptions, chord names.
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{chord-name-exceptions.ly}
@c TODO - tweak snippet to use \blackTriangleMarkup as well
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{chord-name-major7.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{adding-bar-lines-to-chordnames-context.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{volta-below-chords.ly}
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-chord-separator.ly}
@ref{Chord name chart},
@ref{Common chord modifiers}.
+Essay on automated music engraving:
+@ressay{Literature list}.
+
Installed Files:
-@file{scm/@/chords@/-ignatzek@/.scm},
-@file{scm/@/chord@/-entry@/.scm},
-@file{ly/@/chord@/-modifier@/-init@/.ly}.
+@file{scm/chords-ignatzek.scm},
+@file{scm/chord-entry.scm},
+@file{ly/chord-modifier-init.ly}.
Snippets:
@rlsr{Chords}.
LilyPond has support for figured bass, also called thorough bass
or basso continuo:
-@lilypond[quote,ragged-right,verbatim,fragment]
+@lilypond[quote,ragged-right,verbatim]
<<
\new Voice { \clef bass dis4 c d ais g fis}
\new FiguredBass {
In figure mode, a group of bass figures is delimited by
@code{<} and @code{>}. The duration is entered after the @code{>}.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\new FiguredBass {
\figuremode {
<6 4>2
Accidentals (including naturals) can be added to figures:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<7! 6+ 4-> <5++> <3-->
}
Augmented and diminished steps can be indicated:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<6\+ 5/> <7/>
}
A backward slash through a figure (typically used for raised
sixth steps) can be created:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<6> <6\\>
}
@end lilypond
-Vertical spaces and brackets can be be included in figures:
+Vertical spaces and brackets can be included in figures:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<[12 _!] 8 [6 4]>
}
Any text markup can be inserted as a figure:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
\figures {
<\markup { \tiny \number 6 \super (1) } 5>
}
Continuation lines can be used to indicate repeated figures:
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
<<
{
\clef bass
In this case, the extender lines replace existing figures,
unless the continuation lines have been explicitly terminated.
-@lilypond[verbatim,quote,ragged-right,fragment]
+@lilypond[verbatim,quote,ragged-right]
<<
\figures {
\bassFigureExtendersOn
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{changing-the-positions-of-figured-bass-alterations.ly}
When displayed in a @code{FiguredBass} context, the vertical location
of the figures is independent of the notes on the staff.
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
<<
\relative c'' {
c4 c'8 r8 c,4 c'
directly. In this case, the vertical position of the
figures is adjusted automatically.
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
<<
\new Staff = myStaff
\figuremode {
When added in a @code{Staff} context, figured bass can be displayed above
or below the staff.
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
<<
\new Staff = myStaff
\figuremode {
safest to use the same rhythm in the figure line as in
the bass line.
-@lilypond[verbatim,ragged-right,fragment,quote]
+@lilypond[verbatim,ragged-right,quote]
<<
{
\clef bass
When using extender lines, adjacent figures with the same number in
a different figure location can cause the figure positions to invert.
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote,relative=1]
<<
- { fis4 g g, e' }
+ { fis4 g g, e' }
\figures {
\bassFigureExtendersOn
<6 5>4 <5\! 4> < 5 _!> <6>
To avoid this problem, simply turn on extenders after the figure that
begins the extender line and turn them off at the end of the extender line.
-@lilypond[verbatim,ragged-right,fragment,quote,relative=1]
+@lilypond[verbatim,ragged-right,quote,relative=1]
<<
- { fis4 g g, e' }
+ { fis4 g g, e' }
\figures {
<6 5>4 <5 4>
\bassFigureExtendersOn